#very self-indulgent meta

[jesncin]

Chimera Constantine breakdown, refs & nods mega-post

Welcome to the master post of behind the scenes for the Chimera Constantine comics. In the style of the Sons of Mars ones I made, this post archives our research and process. So here we go! This will be a mix of showing references and personal anecdotes for how we cobbled this project together.

I'll be repeating some things I've mentioned across blog posts because I like having all this info in one place.

So! There's a lot of ways to go about re-interpretation and re-imagining a story, and one of my techniques is to not get overly attached to research. While it's good to be informed about a character, sometimes knowing every little thing about them can make one hesitant to innovate and try something different with them. So I'm purposely mindful about how much material I research.

But how does something like that work when the character in question has only 2-3 total appearances, one arc, and a quick revisit several years later? We play twin telephone.

For this project, Cin read the Hellblazer Golden Boy arc and vaguely retold it to Jes, who would then write a story based on assumptions and half-remembered memories of the story. Letting personal experience, influences and bias fill the blanks. We're inspired by how Naoki Urusawa wrote Pluto based on his mis-remembered memories of reading Astro Boy. Also when I was a kid I used to look at book covers and summaries and make up a story based on the limited information I was given. It's fun for me. Part of why I love obscure characters so much is that the lack of content about them lets the reader fill in the blanks about their lives and try telling new stories about them that aren't constrained by a saturated canon.

The original Golden Boy arc written by Jamie Delano (#39-40) is about John Constantine coming to the realization that he strangled his twin in the womb. After taking some 'shrooms, John...manifests into another reality, it's very surreal. There, John meets his twin from a universe where John had died, and his brother gets to live. The twin (taking on the name John Constantine, we'll call him Golden Mage to keep it simple) is John's opposite in every better way. They decide to merge their souls to restore...the universe. You kind of had to be there.

John's twin returns many issues later (#249) to wrap up a different arc, there he and the story are written by Andy Diggle.

The first panel of our full comic references the tarot cards John gets from his reading with Zed.

This panel is a direct reference to this scene where John sees his own shadow on a curtain after his reading with Zed. I like the imagery of this arc, even when the dialogue describing twins is really cringe. We changed it to a mirror to reinforce the mirror imagery throughout the comic. Speaking of which...!

Through Jes' reworking of the story, mirrors were streamlined to be the main way alternate universes were portrayed in the story. They'd be the main motif that paralleled the twins too. In issue #249 of Hellblazer, John uses the mirror to confront his twin who resides within himself after their soul-merge years ago.

The line "He's so beautiful, he frightens me." is spoken by a doctor witnessing the Golden Boy's birth in his universe. We repurposed it to be John's dialogue for when he's describing the man he sees in the mirror.

John's twin uses a sacrifice involving these candles to summon his sickly twin. Jes repurposed the use of candles to a magic salt circle that contains spirits like the Golden Boy (he's nicknamed "Goldie" in our take).

The Golden Boy! Even though he died in the womb, he's portrayed as a boy. Probably because a floating fetus wasn't what they were going for. We wanted to give him a distinct look that foreshadows how much he would grow his hair out. I like that his mouth isn't visible! We use the shape of his eyes and posing to get across how he's feeling. It gives him a vacant-toddler-stare I find really endearing.

We made some minor adjustments to the Golden Mage's design. Initially, we followed his canonical pulled back long hair. But since he was a challenging character to emote when we had one less arm to work with, we decided to part his hair so that it could carry how he's feeling. I like when I can get it to cover a part of his face for intense moments! If it was animated, it would 100% be expressive Ghibli hair.

Our main goal for Golden Mage's characterization is to make him feel like his own person. In the original arc, he's less of a sibling and more of an au of John Constantine himself. He doesn't get his own name. Despite gloating about having a better and more fulfilling love life than John, he also shared the exact same love interests John does. Being a twin is less about a family story and more a vehicle to talk about self hatred and potential here. Which isn't fair to the individuality of the characters!

(note, this is not how the panels look in the og comic, I've rearranged them so that they display on this post better)

So we characterized the Golden Mage to still have his canon charisma (albeit with the dialogue toned way down from his original appearance), but to have a thinly veiled temper under all that bravado to foil his con-man trickster brother. The Golden Mage was vaguely described as not being particularly attached to the love he receives. Golden Mage is also dismissive of his womb twin's death, saying it's something he shouldn't grieve since he never really knew him. We reinterpreted these lines as him being in denial over his brother's death, thinking himself as above his own feelings of grief.

Also as a tiny note, we kept the Golden Mage's name ambiguous to keep with the vibe of the original comic, but in my mind I headcanon his full name to be Marigold "Goldie" Constantine. The yellow flower is culturally associated with prosperity, but also grief and jealousy. It's perfect for him! So we made references to the flower in the cover and first panels of the comic. I also headcanon that as a kid he called John Constantine's ghost "Johnny".

My influences for how this whole beginning meeting scene is staged and played out is E.M Carroll's When I Arrived At The Castle. The "animated" panels of Golden Mage looking back at John and breaking through the mirror is a direct call back to the keyhole sequence in that comic! The premise of daydreaming about how your life could have been and not realizing that you're staring at an alternate universe is loosely inspired by Junji Ito's Hellstar Remina. I really like the concept of staring into the unknown and then something sentient staring back from that. "What if our day dreams are just other realities we're dreaming of" kind of deal. I don't see that sort of thing in the saturation of multiverse stories these days.

Next reference is the Dead Boy's Heart! While I like that this story's its own thing, I was surprised it wasn't linked to John's dead brother in any way. It felt thematically relevant, so we brought it over as a device to trap Goldie while the brothers merge souls.

Twins can be positioned in a bunch of ways in the womb. I think canonically, John and Golden Mage were positioned like they are in the cover for Hellblazer #39, ideal for strangling I guess! We changed it to echo the motion of yin and yang. I do think the inclusion of yin and yang is a little cringey in the original comic even though I get what it's going for (balance and all that, it's just kind of simplistic to the philosophy). But I do like it as a way to echo card imagery we established in this comic. We combined the imagery of the tarot cards featured in the Golden Boy arc and King/Queen/Joker playing cards. So it felt right to bring back that whole upside down twins in the womb thing. Special fact, this is how my twin and I were vibing in the womb.

The scene where the twins hit Ctrl + E to merge layers! It's a pretty iconic pose! I like how their heads peaked out of the panels so I brought it back for our comic too. In our version, the twins fail to merge their souls entirely. In the revisit to the Golden Boy character in the comics in issue #249, it's revealed that the merging "failed" in some way, trapping the Golden Mage within John's soul.

For John's ghost counterpart from Golden Mage's universe we took Dave McKean's portrayal of him very literally haha. I know he doesn't literally have one eye, but we thought it gave him a really distinct look for us to stylize. We decided to keep the ghost kids consistent with no mouth and vacant pupil-less stares. We gave ghost kid!John a sort of bedsheet ghost form to contrast against Goldie.

Speaking of one eye! That's another motif we decided to emphasize throughout the comic. It's not in the source material at all, but we liked it as a way to both hint at chimerism and visualize how the two brothers serve as incomplete halves of each other. Special fact! Heterochromia can show up in chimera twins. Of course in the case of identical twins like the Constantines, their chimerism isn't as detectable since they have identical sets of DNA. But! It's still fun to stylize in a supernatural way. For our take we show the glowing golden eye as the soul of the Golden Boy manifesting in his brother. I like to think that John takes advantage of how undetectable his chimerism is to have an upper hand in any soul-related deals he makes.

This stylized heterochromia is inspired by @ratblazer 's Constantine design! I made a subtle nod to it with young punk John's make up echoing the scar in her design too.

For John's dynamic with Goldie the Golden Boy, we built the conflict of the story around making him doubt his attachment to his dead brother. There's a line of dialogue in the revisited Golden Boy arc about John needing to "let go", so we repurposed it into the Golden Mage assuring him that his attachments make him weak.

Even though the Golden Boy doesn't show up nearly as much as I think he should in canon, John has been shown to be really sentimental about him. John wants to be the Golden Boy's friend because he's so beautiful John mistook him for Jesus as a kid. Canonically, the Golden Boy ghost rejects John's friendship, likely still not over the whole strangulation in the womb thing. It still breaks John's heart though, he's a sobbing mess about being owned by a dead kid.

We changed this whole dynamic! The twin murder in the womb felt very X-men Xavier vs Cassandra Nova, and it's hard to get behind babies having that much motivation before they're even born. In our version, Goldie is a vanishing twin absorbed by John, the sickly twin. Infants being accidentally strangled by umbilical cords does occur in reality. However, we changed their origin to being that of Vanishing Twin syndrome because it was more specific for the ideas we were going for.

I feel this crucial change is more in tune with the overall themes of Hellblazer. John always cheats death at a cost. People are constantly sacrificed for John's continued survival. But the Golden Boy's case would be special, because he sacrificed himself out of love before he even knew what it means to love. Unlike the other ghosts that haunt John Constantine, Goldie isn't resentful of John. I think it makes more sense for the Golden Boy to be attached to John because he's all the Golden Boy's ever known. As a chimera twin, John is like a horcrux holding his brother's soul in his body. This reaffirms survivor's guilt to be something John experiences since his birth.

Canonically, although the Golden Mage initially feels sorry for the ghost of John that haunts him, he rejects John as well. John's ghost in canon is like a nuisance that keeps bothering Golden Mage. There's an instance mentioned of Golden Mage trying to recreate his murder in the womb? It's cryptically written. But Golden Mage does keep using the phrase "banished" to describe his brother.

We took this and made it so that he performed an exorcism on himself to remove his supernatural chimera-bond to John's ghost. The Golden Boy arc is pretty unique when compared with how saturated multiverse stories are nowadays since it doesn't share the science fiction sensibilities. Grief comes up a lot in multiverse stuff, in these stories characters use parallel universes to save a loved one as they're bargaining with their loss. For our take, we wanted a character to use the alternate universes to hurt and lash out at the loved one they're grieving. I pulled influence from Everything Everywhere All At Once's concept of a self destructive character on a search for the one familial connection who could understand what they're feeling.

References! The first panel is a nod to issue #36 where John is sleeping with Marj. We changed her to Kit. The second panel is a direct callback to issue #67, an iconic visual for his break up angst era.

Trivia; this page was added at the last minute! I needed something to bridge the birthday cupcake page and the final panel of Golden Mage's breakdown, so I linked them through candles! In this weird case, I reference my own work! This is a callback to Birthdays, a short comic we made for John Constantine's canonical birthday. It sets the premise for his relationship with Goldie based on the habits and experiences of survivor twins. The pages referencing this comic are meant to re-establish that John shares meals with his twin.

I wanted this page to feel like John's lighting an incense for his dead brother, and to contrast it with the snuffed out candles from Golden Mage's flashback. The candle has a yellow and blue intertwined spiral pattern that calls back to the color of John and Golden mage's dialogue boxes and speech bubbles, along with how twisted they look when they merged. Implying that in this universe, they're together in some way. I really wish I did this intentionally but it was by complete coincidence of making the cupcake pink and balancing it out with pastel primaries. But I sure can acknowledge how cool it looks symbolically okay???

The dialogue here is a nod to John's monologue in issue #19 where John is comforting Simon Hughes. It's re-contextualized a bit to be about sharing grief together in our comic.

This is a really goofy one but- since Golden Mage is supposed to be the fully realized potential of John, we thought that he would have a successful career as a musician and singer where John didn't. I don't think Golden Mage would be a punk singer though, he probably does something he'd consider more elevated.

BUT-! In the 30th Anniversary edition of Hellblazer, Sting (the guy John's appearance is based on) wrote an introduction for the edition while roleplaying as the Golden Boy. Which is nuts. The Anniversary edition basically canonized Sting as being a Constantine variant in our universe with the soul of Golden Boy. Sting, as Golden Boy, describes himself as a musician and singer too. Absolutely bonkers for Sting to throw me a bone this late in the game since no one's touched this character in ages.

Another E.M Carroll influenced panel sequence. This is from the digital comic Out of Skin.

So that brings us to the end of the comic! We've had the ideas for this comic cooking for some time, and it's people's continued interest in our takes on these characters that gave us the chance to finally bring the story together.

I'm very fascinated by the Golden Boy story, not because it's particularly strong compared to other stories in Hellblazer's run, but because its intriguing premise is bogged down by its surreal take on typical Evil Twin tropes. og Hellblazer's strength was always in its raw humanity. John Constantine's character countered the sensational spectacle of his superhero contemporaries. He may be able to outwit a vampire but he's can't fight back against being brutalized by the police. In one of his most iconic arcs, he finds out he has cancer- not because of any supernatural shenanigans, but because he literally smokes too much. In another arc, John's long time girlfriend breaks up with him, and he lashes out by saying the cruelest things to her. When he hears that his abusive dad is murdered, John still cries about it.

I think the Golden Boy arc and the retcon that followed his brief return actively undermines what makes Hellblazer special. Suddenly John's having X-Men-level evil twin escapades in the womb. Suddenly, merging with his twin will help save the universe. Suddenly, it's not smoking that caused John to have cancer! It was actually because he merged with his twin and his twin became the cancer from inside him! Suddenly it wasn't a moment of lashing out that caused John to say all those cruel things to his ex upon their break up, that was actually the Golden Boy controlling him from within, so you see it's not really his fault! Also what followed the break up was extra devastating because of the Golden Boy, somehow.

Often I hear in fandom that when you change a character too much from their canon counterpart it's basically "just an oc" at that point, but in the case of characters who get to be re-imagined and passed through many creative teams, I think that kind of mindset is deeply limiting for transformative work. The line I draw between "just an oc" and an interpretation is if the changes involved engage with their source material in any way or if they're just superficial. Big changes and 180 flips can work because they still respond to the history of said character. It's why we see that kind of thing in canon a lot. These characters are inherently built to be passed through many hands in meaningful ways to varying degrees of success. So I hope that by showing all this process that goes behind big changes to a canon character, people better understand what can go into transformative creativity.

Our thesis for this re-imagining is to take what makes Hellblazer special and re-examine the arc that we felt undermined that. Despite the grief John has for many characters in his cast, mourning isn't brought up at all in the Golden Boy arc. It's dismissed by the characters in narration, and the Golden Mage himself isn't even recognized as a sibling by the narrative, no matter how many times John calls him "bro".

Survivor twin grief over dead womb twins especially is a real thing that's often dismissed because in the words of canon Golden Mage himself "I couldn't mourn for those I'd never known". This is not true to the experience of twins. They play with and remember each other from spending 9 months growing in a tight space together. So when one of them doesn't make it out with the other, that survivor feels a grief they can't comprehend. It can manifest in unresolved trauma, commitment issues, and survivor's guilt. All things that feel so relevant to the themes of John Constantine's character. I think that by integrating the real lived experiences of survivor twins, the Golden Boy arc could've been one the most human and personal parts of the original Hellblazer run. It's could've been a story that helped a community of people so rarely validated in their grief feel seen.

[starflungwaddledee]

Do all of the knights have names in your au? And how did you decide on them?

hello there, thank you so much for the message! correct me if I misunderstand, but I think this is about a panel from my galacta knight vs meta knight comic:

where Galacta Knight uses the word Vaýtita. it's not a name, it's a... actually you know what, it's so much more embarrassing! it's a term of endearment/a relationship designator from my unnecessarily complex whole entire sci-fi language i built for them, lmao 💦

here's the note at the beginning of my personal dictionary as a quick crash course:

Ei Vaýtita in particular means "my gravity". it's akin to words like beloved, my heart, or soulmate- an irresistible force in one's own life. it's usually used romantically, but it doesn't have to be. Galacta Knight says it here to be cruel, though i do think he means it quite wholly

when I go in for making languages, especially sci-fi or high-fantasy ones, i like to consider the alien culture that the language is formed in. for these guys, everything was star and space coded; they had no reason to care about "hearts" or "souls". they considered themselves star-like, and so gravity as a term was most important; it's the only thing that can really move them.

praise is about being bright or shiny or having strong gravitational pull; and insults, accordingly, tend to revolve around being dim/lightless or stuck in orbit around someone greater

(translation under the cut because this is already getting long, sorry... i love to talk about this... thank you for asking 😭💝)

phrase // literal translation (from starspeak) // english localisation or meaning

kalimépos // welcome first light // good morning astéskotei // dim star // derogatory but not blindingly so; you could use it pityingly or fondly in a pinch ei épios // me see // wake up ei Vaýtita // my gravity // term of endearment and a relationship designator used within a star-system, usually for equal partners eu desai Ílioz ai ei // you (are not) the Sun of me // this is basically just a rejection from Meta Knight. the Sun serves an important role in star-systems, and he's simply telling Galacta Knight to shove it. he doesn't say it very well, but he refuses to say Ílioz-ei and so turns to a slightly clunky workaround.

[royalarchivist]

I just remembered this old silly storytime video Rubius made a few years ago, and I wanted to share it because it's still very funny and I know most English fans aren't familiar with the story!

In summary: Rubius orders some takeout while chilling at home (shirtless, only wearing PJ pants), and due to a language barrier and a series of unfortunate miscommunications, the delivery person winds up inside his house without him realizing it. Rubius refers to this story as "the most awkward moment of his life."

(There aren't official subtitles for this video, but the Youtube auto-caption translations are pretty good!)

[quinn-pop]

sorry for the metadede flood lately um. anyway i think dedede officiates waddle weddings. if they even have them lol. it’d be funny and cute

[voorice-corp]

"Victor is/was religious"

broke: saying he's vaguely christian and not elaborating any further

woke: making up a wholeass fictional pantheon n mythology for this purpose and nothing else

[peacerisendove]

I wanna feel the wonder of you Let's make a deal, I'll give you some truth It gets me high This time it's never-ending Hold back the fear Your touch so ever-temping I'll keep you near. Miles Kane - The Wonder

If you can't draw your own OCs being their own terrible enemies to lovers selves and blurring the line between the two then what's the point?

[Luka's the one on the left and Grex is on the right.]

Tumblr Art || Twitter

[poppiesforthirteen]

missed them 💕

[procrastinationau]

Sal 17, 28, and 44?

17. Preferred mode of dress and rituals surrounding dress

i mean in canon his outfit is a tank top with slacks and dress shoes, so I guess his fashion sense is an ungodly mix of formalwear and gym clothes lmfao. more seriously I think he likes to dress sharp but he also likes to be comfortable, and he tends to go for things he won't miss too much if they get ripped up (if he, y'know, has to turn into a lizard on short notice). he's also a giant cornball and loves kitschy stuff, bad puns, cheap tourist schlock. see his outfit in the current fic for reference lmfao. i like to think he does this (accumulates kitschy clothing) for every major city they visit,

28. Who do they see as their best friend? Their worst enemy?

This one is really tough, because like...I don't think Sal sees people as friends or enemies. He has allies and people who want to kill him. I guess Rai's his closest relationship at the moment, but I don't think Sal sees him as his best friend. I don't think Sal feels he has anyone he'd call a best friend, because to him that means someone he can fully confide in and trust with all his secrets, and Salvador Cumo does not trust easily. Chase Young is probably the person he's most open with (he keeps a Lot from Rai) but that's not because Sal trusts him, but more because they more or less see each other as equals, and because Chase has known Sal a long time.

And as for enemies...I mean, like I said, he has people who he's pissed off enough that they want to kill him, but Sal doesn't give these people much thought lmfao. maybe sal's worst enemy is THE MAN. the law. the cops. he doesn't like playing by the rules.

44. Religion?

oh boy okay this is one of those things where it's just super self indulgent and I fully admit it's me projecting on the character, but I headcanon Sal as Jewish. He doesn't really believe in God and doesn't keep kosher, but he tries to observe the major holidays and rituals. One headcanon I've had for a really long time is that every year for Yom Kippur he and Rai travel to Bogota, Colombia (which is where he grew up in my headcanon backstory for him), and he turns Rai loose on the city and goes to visit his family, who are buried in the jewish cemetery there. Rai doesn't know the specifics of why they go there or what Sal does, he just knows it's really important to him for some reason.

Also Sal grew up speaking Ladino in his household and is still fairly fluent in it :)

[variousqueerthings]

okay I watched good omens s2 yesterday with my partner, and I was genuinely very surprised -- I think if you've grown up through superwholock/merlin/the 100/teen wolf type shows where (with the exception periodically of doctor who) you kind of had to make up the good show that something could have been in your head, that colours a lot of your viewing, and to be honest I thought season 1 of good omens was a fine little piece, honoured the book while modernising it somewhat, it was a nice, fun, low stakes time, with a couple of things I might have wanted a tad different but nothing overall awful.

so I was seeing all this meta and gifsets and discussion, while I was waiting to give s2 a watch with my partner and thought "ah, people have made up the good show in their heads again" not that I assumed s2 was going to be a bad show, but that people were taking extra deep plunges into possibilities, the way fandom does, and that was fine. I knew there was a big ol kiss, I had a sense of some kind of argument at the end, and that it was setting up a s3

I also knew that mainstream reviews were calling it (politely) self-indulgent and dependent on whether or not you enjoy david tennant and michael sheen having a good time for just under 6 hours

all in all, expectations of a somewhat mainstream show without too much to think about, a nice, fun low stakes time, moving on...

(EDIT: AND THEN I WROTE A LOT OF WORDS SO YOU CAN IMAGINE THAT MY REACTION WAS QUITE DIFFERENT)

as it turns out it seems these things that were being written on tumblr were discussing the actual text of the show and not things you could extrapolate if you squinted and tilted your head a little to the left as I'm so used to doing, so in fact there is much to think about!

and my first thought was "this is like when you read early discworld books that ask a question like a joke, only to find that over time the answer to that question becomes very serious (and also can be funny at times of course)." how terry pratchett would pick and pick at tropes and notions and social ideas and go "oh now hold on, this seems strange..." starting way back when he thought it was odd that women warriors always seemed to be dressed in metal bikinis and then realising he hadn't done a good enough job of subverting the trope, simply by depicting it and calling it a bit silly

why do goblins always get treated as the villains? what's with this divine succession of kings business? where are the female dwarfs? who do we treat as disposable?

good omens season one went: "haha what if heaven and hell were intensely incapable, bureaucratic, corrupt, and uncaring of the work they did, and we took an angel and a demon and had them actually care? wouldn't that be... a bit silly?" (and it was)

good omens season two went: "what are the consequences for caring when the people who have power over you are incapable, bureaucratic, corrupt, and uncaring? what are the forces that supersede systems built on fear, ignorance, and violent conformity? can people change and break out of/challenge/break down these structures by caring?"

and this was set up with a neat little sleight of hand (to reference aziraphale's switch-and-bait in the episode with the nazi zombies), because the majority of season 2 does feel a bit indulgent: hey, remember those two wacky angel-and-demon characters? watch some more wacky things they did through the ages, watch them take a sojourn through 1827 Edinburgh and do a magic show during the Blitz, and... stop the death of Job's and Sitis' children (actually maybe that whole segment ought to have been what they call "A Clue")

see them try to figure out a kooky mystery, all the while setting up a cute little same-gender romance on their street. watch as everything points towards a happy ending that's all about the two of them realising what they've been to one another all these thousands and thousands (and thousands and thousands) of years- but hold on. lest we forget - and the show has made this point over and over - there are powerful people who control them, who hurt them, and who plan on hurting others, throughout the whole season, and as it turns out they know what they've been to one another for far far longer, and know how to pull their strings...

season 2 then, has to show us these things, not because they're indulgent (well, maybe occasionally, but the apology dance is still important), but because in order to make the ending a tragedy, we first need to understand, properly, the impact that they have had on each other. we need to understand that Aziraphale relied heavily on Crowley to be his moral compass and leaned on black-and-white thinking in order to deal with things, because if it's all grey then where does he fit and what has it all meant and heaven has to be the good guys, even as Job's and Sitis' children are ordered to be killed, it's all he ever had...

and Crowley was always an anchor, needed to trust that Aziraphale was different, needed to bend to every whim that Aziraphale has, because otherwise what's his worth in all this? After having been already deemed worthless by the heaven that Aziraphale needs to believe in?

and that, simplistically described, is the narrative that we're seeing in s2, and alongside that the ways that the changes they have upon each other are noticed, and monitored, and placed under suspicion, and finally... broken up, not by the clumsy, brute force that's been attempted over and over again, but by a promise to return into a violent, controlling system and to "make it better from within"

and all of this is wrapped up in two queer relationships + a third queered-within-the-text relationship that creates the inverse of how it ends for Aziraphale and Crowley (so far). queer love -- whatever shape that has -- is explicitly the shape of non-conformity within this narrative, including within the symbolism of angel-and-demon love of Gabriel and Beelzebub, which in the context of the systems created is considered queer (and one can argue till the cats come home about casting cis actors, about angel-and-demon notions of gender/romance/sexuality, but the "queerness" comes from building something non-conforming to the systems they exist in), and enforced by the explicitly our-world-definition-of queer romance that Nina and Maggie have going on (which, while less high stakes, still contains the background controlling relationship that Nina initially is in)

all of this to say, that I disagree that s2 meanders, or that plotlines happen for the sake of showcasing Aziraphale and Crowley without purpose, or that characters get sidelined (I'd say it sets up a whole host of interesting characters to further get into actually), or that it's strictly mainstream easy-access narrative that's just an excuse for the main creators and actors to get back together.

the love is the point, and this show takes its time to show the love (and the unequal boundary-setting, and the fact that one of them has an undiscussed tragic backstory, and the desperation to belong again, and the fear instilled by oppressive systems, and and and), so that we understand why those last 15 minutes happen the way that they do

it's sleight of hand, and like all good magic, you don't notice until it's happened

[imaybe5tupid]

On the hidden repressed suburban white emo boy darkness in Laios’ heart

LET ME BE CLEAR: i like Laios, this is not a hate post, his flaws and darker parts of who he is round out his character and make him the character I love. Also this isn’t proper meta or analysis just my literal sleepy off the cuff rambling

I think Laios can be very comfortably summed up as someone who feels he was never indulged and the person he is in the series grew over those scars. I really enjoy how much Laios genuinely has a lot of darkness in his heart his emo-boy ness is really underrated. He canonically thought of (and is implied to sometimes still think of) his bullies (and sometimes people in general) like this

Aside being autistic, well into his 20s Laios really inhabits this very imo teenage mindset/outlook thats a combination of outsider and contrarian (the latter secretly). And the Winged Lion sees this immediately for what it is, this idea of being an alienated outsider due to your unique understanding of the world (I don’t mean Laios thinks hes like a nobel prize winner but more that he has a lot of resentment for how the things he’s interested in are not valued in the way he values them) and the percieved dull conformism of others (eg. his father), and how these feelings of his come from a deliberate (as in i feel hes actively trying to make himself think this as a coping mechanism) lack of intellectual and emotional curiosity about people or things that he’s unable to box into this Different category i.e the grass is always greener (of course in addition to his Traumas). For example monsters obviously, but also his fascination with Toshiro’s foreignness, like the island was probably full of strong cool warrior types but they weren’t so distinctly “exotic” (unfortunate but true 😔, many such cases see Japanism and also ironically cause thats how i hc the toudens, the way scandinavia is weirdly idolised by a great deal of the world, or even the way people will see an indie movie set in like small town absolutely anywhere else in the world from where they are and be like waow so cool and different unlike my LAME hometown imagine that meme of the ships thats like their barbaric practices etc.) and an emblem of this cool different world that he could idealise and escape into.  Shuro represents a kind of escapist fantasy for Laios, like in addition to just being (to Laios) This Super Nice Guy Who Always Saves Me And Says Yes To Me And Never Gets Mad, he’s also Nothing Like Those Boors from the village/school/ the military. And he probably dgaf about Rin or like Eastern diaspora in Melini and would say offensive things to them running along the lines of what he said to Lycion (“so you only look different on the outside, nothing is different internally , how disappointing”). Like you can compare Kabru’s curiosity towards people which is driven by a genuine passion for humanity, to Laios’ at times objectifying curiosity toward Shuro which is shaped by the pain of the past and immediately see the sickness in the head Laios has lol. Unconsciously, Laios I think can also be a deeply self-centred guy at his core (evidenced by the nature of his curse at the end of the story too haha).

[aka-indulgence]

So, Ramattra huh? :3c

Ok so um. He’s completely taken over my mind for the past month 😭 I’m in love with this man

Usually I’m a sucker for the villains who are evil mostly for the sake of being evil or aggressive monster types but he’s like… morally gray complex? My (personal opinion) least favorite thing about supposedly morally grey characters is when they’re basically just evil except they go “oh but my backstory,” >:/ But here you can see why, there’s a lot of injustices towards omnics in the overwatch universe and you can see why he’s fighting so hard to make a change, even through any means necessary.

I’ve only started playing recently and every time I play as him I just find every little thing he does attractive orz the way he moves is so determined and confident, the way his hand strains when he’s shooting his primary fire/raising his shield… his scarf makes him look so majestic when he runs… his hair, gives him this effect that makes him look elegant? I want to tie his hair back for him huhuguhghuh

And oh my god don’t get me started on his nemesis form I’m dead 💀 He turns into this huge beast of a robot with big arms?? And his voice gets an extra.. filter to it that makes him sound scarier and growlier? I used to not like how his original arms were still visible, but now it’s yet another thing why I love him uhghehgfg he looks so confident with his arms crossed while he’s pummeling his enemies into submission and his cable hair flowing in the wind liks swoosh… and things get ramped up when he’s doing his annihilation ultimate, he can just run into the enemy team and suck their life force(?) Also this is a meta reason but I think it’s hot when he ults and the team scatters away from him 😳

and ough HIS VOICE AUGH HIS VOICE!! He always sounds so controlled and collected, and when he’s in nemesis form it’s like his restrained rage gets unleashed, phew… ngl I’ve been rewatching “Ramattra Voice Line” videos so much jkdshfnejf I love all versions of his ult line, whether its “SUFFER, AS I HAVE!” or “Rip them to pieces,”, or even the april fools line bc I just think he’s silly and dramatic in that one 🥺

I also watch a lot of his interactions, because despite his (understandable) hatred for humans, he’s respectful and polite to a lot of the other overwatch heroes. I imagine it’d be easy to write him as someone who dislikes all humans, but he shows appreciation to humans he thinks are kind and helpful to omnics, even if they might not like him. Even to humans he isn’t a fan of his conversations are still polite and reserved, or at the very least, he’s passive aggressive- but he never gets into a “grr I hate all of you” thing that Reaper has (lol)

His conversation with Venture especially makes me soft… he sounds encouraging to a human who wants to go to the Shambali monastery.

And of course his interactions with Bastion and Zenyatta are soft and gentle because omnics and knowing Zenyatta from the monastery.

I just- what if I’m his favorite person? What if I’m his exception to his hatred for humans? What if he was contrasted by a soft human? What if he says “Only you,” to his human? What if the hands he used for violence were also used to gently hold a delicate human he loves? uhuguhguhuhgufdgdfhgjdfhgd

I’m being self indulgent here and I say I wanna kiss Null Sector’s leader !!!! I want him to press his forehead to mine!! I want him to dink his mouth on my cheek and I do the same on his cool faceplate! I want him to cradle me with his nemesis hands! I want to hold his face when his faceplate gets cracked and his handsome, intense eye is visible and looking at me like I’m his treasure! ARGHRGHRG

[saintsenara]

Hi, I just wanted to tell you that I absolutely love your metas! You’re not only clearly a very talented writer but also blessed with such great insight into these characters that my dopamine levels always jump to absolute heights with every new post. Thank you so much for sharing your thoughts and being a real gem in this fandom ❤️

Also, because I couldn’t find any post (or did I miss it?) about specifically Harry/Snape (without a third person added to the mix) I would love to read your thoughts on it. Either romantically or gen, after the war, where Snape lives. Thank you so much for indulging me :)

thank you very much for the [exceptionally lovely] ask, anon!

snarry is definitely a popular request...

... so let's get into it!

[and let's also get out of the way that fact that i do not back snamione as a pairing. you can find out why here.]

while they're by no means my otp - and while i'll admit to preferring both snape and harry paired up with lord voldemort - i have long dabbled in a bit of snarry, particularly because it's a ship which attracts astonishingly talented writers. and - in particular - astonishingly talented writers who think really subtly, intelligently, and creatively about life and love and all the questions therein. i'm always really struck by the nuance with which both snape and harry are treated in so many snarry fics, and i much prefer that to the more one-note treatment each character gets elsewhere in the fandom.

and - of course - why snarry works so well as a ship is because it has such a solid justification in both harry and snape's canon characterisation - and because this compatibility is made all the more interesting by the layer of conflict caused by snape and harry's mutually antagonistic relationship. harry adores the half-blood prince - looks up to him so much, in fact, that he genuinely wonders if the man was his father - because they're intellectually compatible, have similar senses of humour, have similarly self-serving aspects to their moral codes, and have a shared reactivity and emotional volatility. the text emphasises this frequently, most explicitly when hermione tells harry in half-blood prince that he doth protest too much:

"He tried to jinx me, in case you didn’t notice!" fumed Harry. "I had enough of that during those Occlumency lessons! Why doesn’t he use another guinea pig for a change? What’s Dumbledore playing at, anyway, letting him teach Defence? Did you hear him talking about the Dark Arts? He loves them! All that unfixed, indestructible stuff - " "Well," said Hermione, "I thought he sounded a bit like you."

harry is also willing to acknowledge these similarities himself, sometimes. he empathises with - and even, occasionally, respects - snape well before the conclusion of deathly hallows, and - crucially - does this on his own terms. him refusing to dismiss his disgust at his father's treatment of snape in snape's worst memory in order not to make sirius or lupin feel awkward is incredibly impressive - and is something i don't think he gets enough credit for.

and since one of the things which makes me a member of both tomarrymort and snapemort nation is harry's instinctive understanding of how voldemort's childhood affected him and voldemort's understanding of how snape's childhood affected him, this is something i think provides a fascinating seam for author's to mine when writing about snape and harry together.

similarly, post-war, i think snarry is one of the best pairings for exploring how both harry and snape come to terms with the realisation that - no matter how well it all worked out in the end - they were both pawns in a larger game. i think that snape is, really, the only person in harry's life who could ever come close to appreciating what it means to have dumbledore send you out to [nearly] die - and i also think, because the man is always at the forefront of my mind, that snape is one of the few people in harry's life who can appreciate the fact that harry, as much as he also hated and feared him, was impressed by, sympathised with, and wanted to help voldemort.

snarry is also an incredibly compelling ship for thinking about power, and how both harry and snape understand it. i wouldn't care about the age difference, or the fact that snape and harry's acquaintance is established while harry is a child and snape is his teacher, even if the dynamic between them could only ever be heavily unbalanced in snape's favour, because these are fictional people. but i'm often struck by how interestingly snarry writers deal with snape being someone who views himself, inherently, as a supplicant - and who therefore ends up offering harry the upper hand in their dynamic [whether this is platonic or otherwise] despite the fact that he is the younger partner. snape's capacity for destructive devotion and self-subordination is one of his most fascinating canon characteristics - and snarry is one of the best vehicles for exploring this.

indeed, the canonical snape clearly regards harry as someone who possesses power over him. his complaints about harry being rich, spoiled, and arrogant make clear that he considers harry to be the second coming of the dynamic he had with james [with it never seeming to occur to him that this is an absurd thing for an adult teacher to think about their pupil], while his complaints about harry's fame is because he views harry as an inherent insider [someone with a pureblood surname and the money to prove it] to the wizarding world while he himself is an outcast. this can cause some exquisite toxicity - especially when snape, who tends to view every interaction he has though a win-lose lens and who becomes incredibly nasty in both victory and defeat, is proven right, having insisted to harry that the wizarding world won't like its golden hero getting railed by a tenuously-acquitted death eater.

but it can also result in something surprisingly beautiful. harry likes to save people, after all, and snape would - deep down - very much to be saved.

and one way he can do this is by offering snape the forgiveness for his role in lily's death which it's clear the canonical snape refuses to accept he might be entitled to. and, in doing this, the pairing draws out a theme which i am obsessed with - that there is a lost generation, whose ghosts haunt the characters alive in the canon timeline. no matter how negative his opinion on james and sirius and so on is, by virtue of knowing them, snape provides harry with a connection to a world he would be a stranger to otherwise, while harry provides snape with a mooring in the present which makes dealing with the weight of the past - and processing the fact that he's virtually the only person he knew as a teenager who's still alive - easier.

i also think that fucking your enemy's nephew is iconic, and snape and petunia meeting again in a scenario in which he's harry's boyfriend is a concept that sustains me.

[ofoceansandtombsanew]

How Portgas D. Ace Loves | As Told By Tarot

cw. gn!reader, headcanons, tarot pairing. portgas d. ace x reader notes. the ace brainrot has been very strong lately and the meta post i made the other day did not help. so y'all have to sit through my self-indulgence by seeing one of my tarot-based headcanon posts. if i'm gonna do these for one piece, i gotta debut with my husband. ace simps, come get your ace juice deck. true black tarot

the chariot, the tower, six of swords, the hanged man

reckless as portgas d. ace can be, loving someone is something he treads cautiously. perhaps if he were the son of a simple sailor whose name never garnered any notoriety, he could love with reckless abandon but as the son of gol d. roger, loving recklessly is something ace can't afford. loved as he may be by many, receiving love is something ace isn't used to. to be honest, he isn't even quite sure he deserves it. as such, loving someone is a path ace treads wearily. should you already be aware of his parentage he can't help but worry that one day you'll decide that's too much. loving someone like him with the blood of a devil and being an enemy to the world government is too much. if you aren't aware, however, ace fears how much that could damage the foundation of your relationship. but he loves you and within love, there can be no secrets - certainly not one this grand. this is a truth ace surrenders himself completely even if he fears what the outcome may be

ten of wands, ten of pentacles, the emperor, queen of swords

ace is a man with many burdens resting on his shoulders but he'll gladly help shoulder yours in spite of them. portgas d. ace is a generous lover, he gives much more than he takes. you'll likely have to remind it's okay for him to receive as much as he gives you. in your darkest moments, ace will be your rock and in your brightest, ace shines an extra light. he makes you feel safe and secure with ease; it's effortless how easily you trust and believe in him. he listens and responds fairly and he's honest and open about his intentions. just remember to shoulder the weight he carries and tell him you'll gladly do so. otherwise he'll carry it himself. love is a partnership and you have equal roles in the one you share with ace

death, the fool, the world, king of swords

love for ace is rebirth. love is what transformed a ten year old mad at the world into a man who can smile with the warmth of the sun. the art of love is something he still considers himself inexperienced in, but he moves trusting you and the trust you have in him. you're the half that was taken from him when humanity's bodies were split by the gods. this, to ace, is an unwavering truth. ace's love makes you feel as if you're whole for the first time in your life. every step you took was meant to lead yourselves to each other and finally become whole again. now that he has you and he knows he can be selfish, he isn't going to let you go (so please don't let go of him either)

ace of wands, the star, three of wands, page of cups

"you see me". you make ace feel seen, like you sought him out specifically over everyone else. you choose to love him and you ace will always choose to love you in return. dying is easy, living is harder and ace's love is the courage to live in spite of a world that tells him he should not. the hope that whatever comes, the two of you will experience it together. ace isn't going anywhere, he is going to live forever. ace was in love with a war no one told him ended and he's putting down his arms to walk hand in hand down whatever path you embark on. that's the promise that comes with ace's love and he makes good on the promises he makes. he loves sweetly, softly, like you're the most important treasure of all. portgas d. ace is the man you chose and you're one he chose back

[silenceandpatiencepining]

I am dusting off my little blog here because TTPD has my mind absolutely reeling. I am really wondering if anyone else listened to this and had this feeling that the album confirmed everything that they were thinking was going on with her. I know we talk so much about reading her songs beneath the surface of muses or certain details used to craft a story, but to me, TTPD reads so strongly of her reckoning with her life in the industry. like, it's so much more than the relationships. it's the comp het, it's the religious trauma, it's the being exploited as a child star, it's deep wound of abandonment and neglect when she as a person got split off from her brand and both could not thrive, it's giving everything to this brand and career and fandom and that still never being enough. it's her codependency with the very people that exploit her. it's the fact that she is bigger than she ever imagined and none of it feels how she wanted. it's the simultaneous love and resentment she has towards her family, and relationships, and career, and yes, even her fans.

the rawness of this album, the unrefined feel, the summation poem talking about this as mania, the continuation of the cage imagery and themes of escaping to her mind/fantasy, the coping with criticism, numbing it all with alcohol, the willingness to burn it all down and disgrace her name because none of this is what she wants or at least not how she wants.

I have seen so many criticisms of the album and honestly, I understand where they are coming from, but I also think the things they criticize make the exact point of what this body of work is - something that exists for it's own sake to turn things back on the people that made her into what she is now. art created not to be acclaimed but because it demands to be expressed. it is an exorcism, an expulsion. it is something that erupted from her. and it's so meta because this fandom and the industry are voyeurs in an echo chamber so desperate to see what they want that they miss that this is about them. that is what makes it brilliant to me - it is self-indulgent and metaphorical, and complex, and so direct, but yet still masked just enough that people miss it. her entire life has become performance art. it is a play within a play. and I fear the audience has not caught on.

it feels like she is reclaiming it all. I feel like this could either be a hint at a new beginning or a signal that she has broken and this is the end. this felt like the tell-all memoir written in code that everyone else will finally understand when she really leaves this spotlight. it's the lucky one come to life. she is daydreaming about fucking it all and leaving this life behind so she can finally have some goddamn peace.

I love this album for it as art. it is so expressive. it is so heartbreaking. it's messy and nuanced, and I think it is going way the fuck over most people's heads, especially when you really dig into poetry being the theme and the specific works she references. it's only been a week and I am just starting to really dig in but talk about a fucking iceberg.

[vidavalor]

Hi! Hope you're having a nice day! So, I love your metas, however, I confess the, idk tecnicalities? logistics? of a twist that they've been together the whole time still puzzle me. What would the narrative purpose of such a reveal be? Why and how would it be put into the story? I guess what I'm saying is I'd really, really like you to be correct but I'm sadly still skeptical that it could actually happen :(

Hi! Thanks for the ask. Hope you're having a nice day yourself. :) I'll give you a cheeky answer and then a real one, if you don't mind. @procrastiel also asked me to talk more about "no nightingales" and it fit into the second half of my answer here so this is kind of a combination ask response to both of you.

This gif below this paragraph here? Yeah, this is *not* the scene from 1.01 that, when decoded from their language, says they're having sex. I am not being sarcastic-- it is *not* this scene. This scene is in that meta (which is being edited, so, soon) because how could it not be, really, but *this scene* is *not* that scene lol and, yet, some people still find the idea of them sleeping together surprising:

Anon, this is, like, the third, joint Crowley & Aziraphale scene in Episode 1.01 and that is consensual, mutually beneficial, kink. One that both has a sense of humor and puts a smile on your face, as Mrs. Sandwich would put it.

Let's thought experiment a bit here. Let's say this is the extent of it. It absolutely is not lol but, for the experiment, let's say it is. Let's say that they've never taken each other to bed, they've never lent each other a hand, so to speak, they've never anything else you're thinking of right now-- nothing. The most significant physical contact they will have ever had pre-2.06 in this thought experiment is holding hands on the bus on the way back from Tadfield which, as we all know, isn't a sexual thing. Anyone can hold hands and it was a long week, but let's say that's it. They would then *still* have a sexual element to their relationship and the show gave you that information in 1.01. What is happening in this scene is a form of sex. It's already in the show that they are having sex. Yeah, they're having more and different sex than this and yeah, there is evidence of it and yeah, meta finished soon, but honestly... there is actually *a lot* of suggestion of Crowley & Aziraphale sleeping together. For now, we'll just talk about this scene here...

Crowley liking to watch is such a thing that it's now a recurring joke on the show. You don't think that "can I watchhhhh" while he follows Aziraphale around the neighborhood in S2 wasn't Crowley self-deprecatingly poking fun at the fact that he's got a bit of a voyeuristic thing happening? "Can I slither over and watch you eat cake?" in Good Omens: Lockdown?... Anon. Girl.

Crowley isn't just scientifically intrigued by Aziraphale eating lunch. He's not just super happy that his pal is having a very delicious meal. He is very, very, very sexually into watching Aziraphale eat...which is to say that he's into watching Aziraphale allow himself to experience pleasure, in the face of the repression of the Heaven mentality... and Aziraphale isn't just indulging this in a one-sided way where, for whatever reason, he lets his best friend of 6,000 years get turned on watching him have lunch but they don't talk about it or something and Aziraphale lets it go because he's got no one else to talk to lol. Aziraphale is equally into this. It's easy to see why and the more the show tells you about Aziraphale, the easier it is.

Aziraphale, into Crowley watching him? Aziraphale, who painted every damn room in his house the color of Crowley's pretty, Va-Va-Voom Yellow eyes? Aziraphale, who has scene after scene after scene after scene of looking irritated and jealous at literally anything else Crowley is ever looking at and calls beautiful? lol That angel is into the undivided attention of the Serpent of Eden, ok?

Crowley made the stars in the sky. He's a creator and an innovator and an engineer and an artist. He's been on Earth since the start and has seen basically everything beautiful humanity has ever made. He drives one of the finest examples of human ingenuity-- his beautiful Bentley. He's seen The Pyramids and watched Da Vinci paint The Mona Lisa and saw first-run Shakespeare performed at The Globe. He has an eye for art and beauty... and he's the original temptress. It was Crowley who tempted Eve into eating the apple and when Eve ate that apple and discovered the pleasures of food, she and Adam created that whole Biblical fruits of knowledge metaphor by getting up to some other forms of pleasure soon after, so, Crowley is basically responsible for free thought and pleasure throughout all of human history since the Garden of Eden... and what drives him out of his mind with want is Aziraphale enjoying himself.

I mean, enjoying his food. Totally just his food. Only his food, Anon. *slight smirk*

Aziraphale is absolutely into that. Crowley likes to watch and Aziraphale likes being watched in that way. Crowley looking at him like he's more beautiful than nebulae and statues of Gabriel is attention that is absolutely welcome by Aziraphale. Two of his favorite things at once-- a luxurious, scrumptious lunch and a turned on Crowley. Aziraphale's ideal day lol. That angel is watching Crowley watch him and loving every minute of it. It's as delicious as his actual lunch. Look at that little glance over at him. C'mon lol.

They do this from time to time. What do you think the results are? What would happen if you kinky-lunched with your best friend and how low are the odds that this is the only sexual thing the two of you have managed to get up to in the 6,000 years you've been on Earth? When one of you is a raging hedonist and the other likes to take beautiful things apart to see how they work?

This scene and its character knowledge is dropped into the middle of the first episode of the show with zero context and 10/10 no notes that was the single most hilarious way this extremely funny show could have ever chosen to do this but this is something the show chose to not only tell us about but to then provide context for in 2.02.

They gave kinky lunch an origin story, Anon lol. They were like also, you should probably know about Bildad at the ox rib special... you see, that hot lunch from 2008 actually started in *2,500 B.C.* when Crowley offered Aziraphale some barbecue and Aziraphale, who had never eaten before, ate an entire ox while Crowley lounged in the corner with a jug of wine and fantasized about being Aziraphale's dinner and before you yell at me, Anon, for sexualizing barbecue when really, sometimes, one just loves a good cookout, I agree with you.

Enjoying food does not have to be a sexual experience. I mean, I've had some pasta that could have given me an orgasm but... what makes ox rib cellar night sexual isn't how much Aziraphale is like omg food is delicious, I eat now, maybe forever, this is amazing. It's how he *looks an aroused Crowley dead in the eye while fully aware of how into watching him Crowley is and then goes back to enjoying his barbecue.*

The next day, he's cracking Crowley up by using the ox ribs in their whole plot to save the kids by having that be what Sitis pulls out of Job's ribs. Gabriel and the angels think sex is rib removal so Crowley and Aziraphale are jointly, from across a room, like the previous night coordinating a kind of pseudo-sex to fool the angels and Aziraphale puts the ox ribs into the pseudo-sex, joking with Crowley about their own sex-that's-not-exactly-traditional-sex-but-was-way-more-sex-than-this from the night before. He winks at Crowley and gives him two thumbs up when he sets up the ox rib bit of it and Bildad was like do not laugh in front of the angels do not laugh in front of the angels...

It was absolutely an intentional joke on Aziraphale's part, poking light fun at their night of figuring out that they have a pair of wildly compatible, mutually arousing kinks that can bring them some fun and showing they have a sense of humor about themselves-- something that is on display a lot, actually.

They're very aware of this and very funny about it and it has been going on since 2,500 B.C., Anon. S2 was just like Bildad at the ox rib special was the first time they had a form of sex, fyi, so yeah, that's why I would not be surprised if S3 has some flashback where they're semi-dressed in Aziraphale's bedroom or something and the implication is that they also have sex that doesn't involve food. The show is also already saying that they do and other scenes already suggest it but we'll save that for the main meta on this topic.

Ok, so my less cheeky, more technical answer :)

To be clear about what I'm saying here so we're on the same page about what S3 could potentially maybe bring... I'm not saying that there's a 25 minute long minisode that's nothing but them getting busy. It would likely be a bit more subtle than that. I say that and then also they did drop food kink into 1.01 and had that hilarious Newt & Anathema scene in S1 so who knows lol but basically, I think there's a flashback in S3 somewhere that is a little more direct about the fact that they've been sleeping together and for a long time. It doesn't need to be anything wild. It doesn't even need to be anything but suggestive of it. A friend of mine thinks it's my The Blitz, Part 3 theory but that they're in bed when Greta gets into the bookshop. All I know is that it's suspicious to me that the only room in the bookshop they haven't really shown us so far is Aziraphale's bedroom. Probably because there's at least some subtle evidence of Crowley in it and they're dragging that out a bit. The one thing I do think though for sure is that we get the vavoom-y first kiss and it being a bonkers amount of time ago, to re-contextualize basically all of their scenes that come after it, which will wind up being most scenes. I don't presume to be correct about details about stuff we haven't seen as I would not dream that I could predict the how, just maybe that I've got the overall vibes right at this point. I won't place any bets about how they'd work in a more direct implication of sex. I might on The Vavoom, though. I've got a solid feeling about that.

For the record, I wouldn't really consider them in bed a twist (as you might have gotten from the tone of this meta lol) but I can see how some people would. If your skepticism is coming at all, even in part, from a place of something like this just not frequently done on tv, I'd say, well, you might have also thought they weren't going to kiss, either, and *gestures in the general direction of Every and doesn't gif it because we've all been through enough* lol. The show is very, very queer-friendly and has a showrunner and actors who seem game enough so none of that is really an impediment to this.

Good Omens is telling its story out of chronological order, for the most part, for what amount to two main reasons: because it lends additional meaning to its themes and because it's fun as hell. The narrative purpose of adding additional context to Crowley & Aziraphale's relationship is to add to your understanding of it because your understanding of it is one of the main ways the show is conveying a lot of its themes. They are the story so adding context to the story to drive meaning is never is not without narrative purpose. By telling the story out of sequence, you wind up engaging your audience to focus more on what you're saying in every scene because you've taught them to look for the layers you're building.

Good Omens told you "no nightingales"-- had Crowley use nightingales and confirm that it's a word in his and Aziraphale's language-- in the same scene in which they showed you them kissing for the first time (and, for them, the worst time lol) to help bury the lede that this other scene earlier in the season is actually telling you about their first kiss. (By setting this up, they now have to show you it, suggesting it's in S3.) The other scene is obviously Crowley taking advantage of the fact that Aziraphale just asked him to play Cupid (and called Crowley romantic in doing so, btw-- "I don't think she [Maggie] knows how to conduct a courtship" implying that Aziraphale feels that Crowley does and that's why Aziraphale has run to his very romantic partner for help). Aziraphale is asking him to help the shop lesbians fall in love and Crowley uses the moment to demonstrate that romantic side by describing back to Aziraphale their first kiss as, to him, the epitome of romance:

Good Omens intentionally shows you stuff and then gives you more context that helps you understand it later. It spent two seasons getting you to know more about nightingales than Sir David Attenborough for the express purpose of eventually answering your question in 2.06. The question: do all these references to these romantic birds really mean that Crowley & Aziraphale are aware of them and the nightingales mean something to them or are the nightingales just a metaphor for them?

And even if a part of you was still going awfully interesting choice of metaphor since this is all romantic as all hell the whole time, you're still not sure until 2.06 if it's symbolism and metaphor and if the show is ever going to weave it totally into Crowley & Aziraphale directly, even if a few clues seem to suggest that they have been doing so all along. Like that "A Nightingale Sang in Berkeley Square" is playing on the piano at The Ritz in S1 (implying one of them either asked or magically influenced the pianist to play it, implying that it's their song/a song with meaning to them/their parallel to Ineffable Bureaucracy's "Everyday", as we'd say after S2.) Most significantly, that Aziraphale in 1967 seems to be referencing it in a coded way when he tells Crowley that maybe, one day, in the future, they could dine at the Ritz, in a scene that's almost impossible to read as anything but a discussion about their relationship.

Cut to 2.06 when Crowley busts this out:

The show is now like remember when we taught you that nightingales are symbolic of romance? Well, we had to so that you'd understand that here is nightingales being used by Crowley as the shorthand word in their language for their romance. We taught you that dining at the Ritz is the act of trying to live live a little more openly with that romance, as well as meaning to literally dine at the Ritz, and that it's a reference to the lyric in "A Nightingale Sang in Berkeley Square." Here's Crowley talking about it. Here's him using the word nightingales in a coded way and Aziraphale understanding him. Here's confirmation of this word existing between them as the word they use when talking about this romance of theirs long before this scene in 2.06 takes place. Here's confirmation that they are in a romantic relationship with one another. Crowley using "nightingales" and Aziraphale understanding him means that it means their romantic relationship in their language... which means they have a word for their romantic relationship in their language... which is to say that they have a romantic relationship.

People do have romantic relationships without having kissed one another before or without having sex but do beings who kinky lunch? Probably not. No nightingales recontextualizes the kiss in its same scene for us the way that Crowley lifting the magic for a moment as he walked away in Job's courtyard recontextualized what had happened earlier in that scene for Aziraphale. When Crowley got Aziraphale to see the crows were the key, Aziraphale understood what had just happened in the scene. When, in 2.06, Crowley says no nightingales, it's for us, this time. Not Aziraphale. He already knows how to speak their language. Even if it's the first time *you've* seen them kiss, no nightingales exists to show you that it's not the first time they ever have.

You don't have a word in a secret language unless you need it. You don't talk about a romantic relationship with one another that you don't have. Crowley pointing to Heaven the way he did when he had Muriel arrest him and saying no nightingales is Crowley saying their romantic relationship, at that moment, felt incompatible with Aziraphale going to Heaven. Heaven means no nightingales-- no romance. He doesn't know how they can continue *the romantic relationship that they already have* if Aziraphale is leaving.

2.06 is not their first kiss; it is probably the worst kiss they've ever had and they've had thousands. It was desperation in the failure of surface communication and double speak alike both seeming to fail them in the moment. Aziraphale touches his mouth with a shaking hand after Crowley leaves and thinks about how he wants him to come back and do it again because imagine loving your soulmate for six millennia and it's going to end with that kiss. This is not a show that's going to permanently break your heart here. Everyone basically already knows how it ends and it's sweet. It's called Good Omens. You really think a show like this is going to make these two adorable supernatural dorks that are its protagonists have had a depressing first kiss? Especially when they're already hinting at how they're going to reveal in S3 that it was really the complete opposite of one? And that it was a really, really long time ago...

If you look back on the nightingales references prior to this, right, you realize that this word has existed in their vocabulary for a long time. "A Nightingale Sang in Berkeley Square" was playing on the piano at the end of S1 so nightingales was already in their vocabulary then. They were already involved romantically in S1. The scene as they agree to go to lunch ahead of the end of S1 has Aziraphale saying that they should go to The Ritz and when we get in there and see them at lunch, we realize we've already been here with them in the first episode and that the show chose to only tell us in the season 1 finale. They tell you things and then add in context to give them additional layers of meaning later.

They dined at The Ritz in 2008 for the first time in 1.01, doing what Aziraphale had suggested in 1.03, so there are nightingales in the beginning, middle and end of S1 pretty directly. Aziraphale having suggested this in 1967 means that nightingales already meant romance to them then. It's *why* Aziraphale uses dining at the Ritz to describe having that more open romance as something he would like-- literally and metaphorically. It comes from the song, which was first performed in 1940. It suggests that the references to this song for them probably tie to The Blitz in 1941, which we almost certainly have a Part 3 to coming in S3. It would be a safe bet "A Nightingale Sang in Berkeley Square" is in it somewhere. Whatever happens then will also wind up re-contextualizing the "no nightingales" moment and adding additional meaning to it that we don't yet know but we know enough already to understand that nightingales = romance.

But when Crowley says no nightingales in 2.06, he frames it by asking Aziraphale to stop and listen, in a reference to the formation of their secret language in the Job courtyard. In a reference to those other birds-- crows-- that hid the goats and formed the basis of Crowley's name. Nightingales and dining at the Ritz might have existed for them since WW2 as words but there were other words that pre-date it and by framing the nightingales comment in such a way as to also reference Job, it's a reminder of how their romance isn't new. It's thousands of years old. The crows were nightingales, long before they ever admitted it, let alone got a song.

World's hottest, most romantic buddy comedy, I tell ya...

[grand-theft-carbohydrates]

-No Can No BB! Meng Mo redesign- im sorry. i know the scum villain tv show has me rapidly animorphing into Cucumber Bro. i know the ctr+ c, blandly pretty, ken-doll faces are caused by budget restraints and do not accurately reflect artistic ability. i know that on a meta level the lack of detail in the supporting cast is actually very thematically appropriate for the shallow self-indulgent xianxia genre SVSSS is spoofing. but i physically can't stop myself. Character Design is my luo binghe and my god, they've kicked my child into the abyss.

LOOK AT HIM! HE'S LITERALLY JUST SOME GUY! this is not giving me "primordial spirit of unfathomable power who preys on the psyche of dreamers." this is the back view of a wig mannequin. huge missed opportunity.

SV TV SHOW. IM BEGGING YOU TO STOP REUSING ASSETS!!!!! HE DOESN'T EVEN HAVE WRINKLES